Search results for "critical code studies working group"
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[…]possible answer to our searches. By making algorithms visible, by showing that they are in fact working – even when their precise workings elude us –, these works question some of the naturalized behaviours and hegemonic meanings of digital culture. In Kozak’s words, making this kind of materiality visible – as ways of being with materiality – invites us to question what it means to think of the digital sphere as a culture of “users” (2019a, p. 74). How these pieces work with the algorithm’s modes of being and doing is what interests me here, and it is what has […]
[…]and scholars must strive towards reaching, whichever road is taken. Whether one chooses to critically read or critically not-read works by problematic 3G e-lit practitioners (whatever critical reading and critical not-reading might mean in digital contexts), and whether we choose to allow perpetrators of violence to tell their own stories (an issue deliberated upon by Yuri Yim in response to a docu-series about Ted Bundy), meaningful conversations about these works and authors can occur. To be sure, these conversations are happening, but there is still substantial room for further interdisciplinary consideration that draws from both academia and popular culture. Our […]
[…]according to Casone, “was developed in part as a result of the immersive experience of working in environments suffused with digital technology” (12), but more specifically from the attention paid to the failure of these technologies: system crashes, bugs, glitches, distortion, noise floor…signals that these technologies were as imperfect as the humans who made them, and which were incorporated in the musical compositions. From that moment, the post-digital has been associated with a process of “amateurization” in art: everybody can become an artist using DIY techniques, low tech, recycled materials and software, found objects and tools lying around the house. […]
[…]social and environmental issues. David Bowie said of art: “If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting” (Bowie). Humanity (and technology) progresses with experimentation and it’s the weirdo visionaries that call on us to rethink what we know, reimagine what it means to […]
[…]the “muteness of the real” (15), to make that theory or poem or gesture or sound or artwork or codework that would finally enunciate the origin (and so also the end) of language, meaning, value, life, etcetera. He thereby establishes a topology of “this side” and “that side,” or inside and outside. “I like to believe I’m working on a frontier,” but “beyond the Pale there’s nothing but the agony of shadows” (123). And the book then becomes an expression of the horrifying, impossible wish to travel to the other side, and also a journal of the repeated failures to […]
[…]play. When I hear them, I hear that magical thing that happens in childhood where you’re all working together to create a virtual something and they’re working it out and they’re tussling a little bit about what the reality is. But it’s in that tussle that the reality gets defined. And that it can happen inside netprovs is really exciting and could be interesting for social change. Anna Nacher Thank you. Thank you so much. Yeah, we have this ongoing discussion on how electronic literature can actually contribute to social change, the required social change. So I think netprov definitely […]
[…]that enable and delimit the digital encounter. It is here that Jones notes how artists ‘working in experimental poetry and the critical off-shoots of poetry called ‘poetics’ often conceive of language as a system of logics that can be bent and broken to deviate from the conditions of the sayable delimited by existing norms’ (22). This crafting of errancy may lack the viscerally disruptive, often unwelcome surprise brought about by the functional unravelling of digital systems, interfaces, and working patterns, but they still provide a matrix through which to read diffractively the complex (and frequently frictional, uncertain) entanglements of the […]
[…]would happen that would take place within the context of the pandemic living room setting. We were working really hard to try to conceptualize and execute and it never quite got there. But it was fun to think around. Rob Wittig 21:48 I would encourage you not to let that go. I think there are a lot of possibilities there! In Your Living Room with a Wrist Band! Claire Donato 21:59 We never could quite figure out what it was. We had the net artists. Net performance artist Molly Soda made a webpage for it. The game part of it […]
[…]as much in that environment. But in that project I ended up composing some messages in Morse code — there are several Morse code translators on the Web — and then getting responses back in Morse code from people I’d never met and whose messages I was only ever partially able to translate and understand because, at that point in time, there were virtually no automated Morse Code to alphabetic language translators. I like how Morse code looks and I think a lot about coding and communication in my work so to have other people pick up these threads from […]
[…]Chinese web and universities Bulletin Board Systems (BBSs) from the second half of the 1990s, most studies on the development of Chinese Internet literature tend to trace the beginning of the phenomenon to 1998, when the first online popular novel – Cai Zhiheng’s The First Intimate Contact – was published in Chinese cyberspace. Yet, it is with the rise of literary forums and literary websites that Chinese Internet literature experienced the great surge in its popularity that still continues today. 2.1. Internet literature websites and online literary communities Between the late 1990’s and early 2000’s, Under the Banyan Tree was […]